Journal articles on the topic 'Music festivals'
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1
Gusāns, Ingars. "DEVELOPMENT OF MUSIC FESTIVALS IN LATGALE." Via Latgalica, no. 5 (December 31, 2013): 105. http://dx.doi.org/10.17770/latg2013.5.1638.
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The topic of this article is to illustrate the contribution of festivals to Latgalian culture. The article gives an overview on the development of the festivals: Latgales Televīzijas Mūzikas festivāls, ”Osvalds”, ”Muzykys Skrytuļs” and Latgales Mūzikas festivāls. The article is based on interviews with the festival organizers, available press materials, internet resources and the author’s personal observations both as a listener and a participant of the described festivals. Festivals are mentioned in chronological order. Latgales Televīzijas Mūzikas festivāls was the festival that started advertising of regional art in Latvia. It was characterized by a variety of genres and the opportunity for artists to introduce themselves to the general public on a high professional level. “Osvalds” is an entertainment festival for people of different taste. It popularizes regional associations and most up-to-date Latvian artists; the Latgalian element does occur, but it is not the main objective. “Muzykys Skrytuļs” has promoted the creation of Latgalian songs, the foundation of music groups and has given opportunity for newcomers to perform on a bigger stage. By concert records and live broadcasts this festival makes a great contribution to the development and the popularization of Latgalian identity. Latgales Mūzikas festivāls has provided an opportunity to the most famous, up- to-date Latgalian artists to perform at the festival on the main stage, thus filling a time gap within the field of Latgalian festivals. Each festival expresses the Latgalian identity in a different manner. However it can be perceived in each of them, therefore it is possible to affirm that festivals integrate, help to maintain and console the Latgalian identity. Most prominently it demonstrates to the new generation that Latgalians are a part of the modern world just like everyone else and that in order to express their cultural identity they themselves could actively participate in various folklore and folk dance groups or even start a rock band that performs in Latgalian language.
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Nhan, Do Thi Thanh, and Nguyen Dinh Thao. "Music in the Festival of Vietnamese People (Thanh Hoa) - Issues." Journal of Humanities and Education Development 4, no. 3 (2022): 106–12. http://dx.doi.org/10.22161/jhed.4.3.12.
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The article focuses on studying music in festivals of Vietnamese people in Thanh Hoa. Through the collected material, the authors have synthesized, explored the cultural aspects of the composition and analyzed the music. The result of the research is to find out the meaning of music in contributing to the festival's appearance and to find out the operating rules and basic characteristics of music. From there, several discussions are given to preserve and promote music in the festival to achieve higher efficiency in life. The research results are the judgments about the culture and music constituting the overall festival, including (1) Meaning of festival organization; (2) Space and time of the festival; (3) Musical genres and performances in festivals; (4) Musical characteristics. The study also identifies appropriate research methods, and musical analysis techniques are also the basis for making objective judgments. This research will serve as the basis for the research, conservation, and promotion of folk music in larger and more comprehensive aspects.
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MALL, ANDREW. "Music Festivals, Ephemeral Places, and Scenes: Interdependence at Cornerstone Festival." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 51–69. http://dx.doi.org/10.1017/s1752196319000543.
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AbstractCornerstone was an annual four-day-long Christian rock festival in Illinois that ran from 1984 until 2012, first in Chicago's northern suburbs and then on a former farm in the rural western part of the state. Most attendees camped on-site, and many arrived one or two days early when the campgrounds opened before official programming started. Like many contemporary multi-day festivals in relatively rural or remote locations, Cornerstone's festival grounds and campsites functioned as a temporary village. For many attendees, music festivals have supplanted local scenes as loci of face-to-face musical life. Outside Cornerstone, participants’ musical lives might be curbed by family, professional obligations, geographic separateness, or cultural stratification. Inside the festival's physical, social, and cultural spaces, however, a cohesive music scene manifested for a brief time every year. This article examines the production of space and place at Cornerstone. In doing so, it contributes a vital link between scene theory and the growing ethnomusicological literature on festivals.
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Cashman, David. "‘The most atypical experience of my life’: The experience of popular music festivals on cruise ships." Tourist Studies 17, no. 3 (September 5, 2016): 245–62. http://dx.doi.org/10.1177/1468797616665767.
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This article considers the growing phenomenon of music festivals on cruise ships. These commercial events, partnerships between event companies and shipping lines, celebrate a particular genre of music and occur aboard a cruise ship. The views of 138 festivalgoers primarily concentrated within six festivals were considered. According to these sources, the festival experience of these events is centred on three factors: live performances, interaction with fellow festivalgoers and star musicians (collectively referred to as ‘ship fam’), and interaction with the constructed space of the cruise ship. Cruise ship music festivals are a different type of music festival, still occurring within festival space, but within the mobile experiential cocoon of a cruise ship.
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Alvarado, Karla Gabriela. "Accessibility of music festivals: a British perspective." International Journal of Event and Festival Management 13, no. 2 (February 1, 2022): 203–18. http://dx.doi.org/10.1108/ijefm-12-2020-0082.
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PurposeThis investigation aims to critically assess accessibility for persons with disabilities (PWDs) at music festivals in the UK.Design/methodology/approachA systematic review of the literature was conducted, followed by a case study focused on analysing accessible facilities and services offered at Glastonbury, Creamfields, Latitudes and Bestival Festivals. These two research strategies made use of secondary data only.FindingsBased on the analysis of the needs of PWDs when attending a music festival and the facilities and services currently offered at the four UK music festivals studied in this research, three themes emerged: (1) insufficient attention is given to venue and site design characteristics, (2) current access booking tools appear to be confusing and bureaucratic and (3) staff awareness is of great concern among PWDs because employees do not have sufficient knowledge about the different types of disabilities and their individual needs.Practical implicationsBy identifying current barriers affecting the experience of PWDs while attending music festivals in the UK, this research guides festival managers to deliver a more accessible music festival experience by suggesting the implementation of new approaches in terms of services and physical spaces provided.Originality/valueThis paper provides festival managers and future researchers with an essential foundation for creating more inclusive music festivals since it mentions critical factors that are currently missing and that can ensure success when responding to PWDs' needs and desires. The information in this investigation can be taken as an initial point to develop a theoretical framework through primary research focused on accessible festival design.
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Ismail, Khairiah, Nawal Hanim Abdullah, Norol Hamiza Zamzuri, and Anuar Shah Bali Mahomed. "GOVERNMENT RESPONSIVENESS ON SAFETY AND SECURITY OF MALAYSIA MUSIC FESTIVALS." Journal of Tourism, Hospitality and Environment Management 7, no. 30 (December 27, 2022): 198–205. http://dx.doi.org/10.35631/jthem.730015.
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Music festivals are often viewed as events that attract a large number of attendees. Despite their positive economic, environmental, and policy impacts on host cities, there are always safety and security concerns at music festivals. This paper emphasises the significance of having proper safety and security, with a particular focus on Malaysian music festivals. The perspectives of government agencies were sought to acquire evidence regarding the impact of a safe and secure music festival, as the approval or rejection of music festivals is dependent on them. Previous studies have highlighted the importance of safety and security at music festivals. However, studies on the perspectives of government agencies, particularly in the context of Malaysian music festivals, are limitedly explored. Therefore, this study aims to investigate the importance of safety and security at music festivals and the repercussions of their absence. Qualitative approaches employed in this study included semi-structured interviews with government agencies such as municipal councils, police, Malaysian Volunteer Corps Department (RELA), and ministries, observation at Malaysian music festivals, and document analysis. The data were then analysed using thematic analysis. The findings of the current study provide evidence of the impact of effective security and safety on the success of music festivals.
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Turris, Sheila A., Tracie Jones, and Adam Lund. "Mortality at Music Festivals: An Update for 2016-2017 – Academic and Grey Literature for Case Finding." Prehospital and Disaster Medicine 33, no. 5 (October 2018): 553–57. http://dx.doi.org/10.1017/s1049023x18000833.
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AbstractIn 2016, the authors published a paper on music festival fatalities between the years 1999 and 2014 (n=722). In this Special Report, they provide an update on fatalities reported at music festivals globally for the period 2016-2017 (n=201). Using a search strategy designed to capture grey literature and media reports of music festival fatalities, reports of the overall frequency and cause-of-death breakdown for publicly reported, festival-related deaths are recorded. This update shows an increase in the frequency of festival-related fatality reports during the new period, together with an increase in the number of deaths attributable to terror (n=60) and overdose/poisoning (n=41). Drawing conclusions about the cause of this increase is challenging given the growth in Internet use, online media reports, and number of music festivals occurring annually when compared with the previous reporting period. The authors re-emphasize the need for a uniform reporting standard and reliable epidemiological data for fatalities related to music festivals, mass gatherings, and special events.TurrisSA, JonesT, LundA. Mortality at music festivals: an update for 2016-2017 – academic and grey literature for case finding. Prehosp Disaster Med. 2018;33(5):553–557.
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Vinnicombe, Thea, and Pek U. Joey Sou. "Socialization or genre appreciation: the motives of music festival participants." International Journal of Event and Festival Management 8, no. 3 (October 9, 2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.
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Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.
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Maglov, Marija. "Agency festivals in Serbia: An introduction." Muzikologija, no. 35 (2023): 53–66. http://dx.doi.org/10.2298/muz2335053m.
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The text is intended as an introduction to the research of the agency festivals in Serbia. The term agency festival is explained with examples of international equivalents and an overview of local and regional networks of agency festivals is provided. The most prevalent topics tackled at the agency festivals and, following their content, their significance for contemporary (popular) music beyond music industry goals are presented. The focus is on Kontakt konferencija and Indirekt Showcase festival in Belgrade.
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Lukić-Krstanović, Miroslava. "The Festival Order – Music Stages of Power and Pleasure." Issues in Ethnology and Anthropology 3, no. 3 (December 1, 2008): 129–43. http://dx.doi.org/10.21301/eap.v3i3.7.
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Music festivals consist of a complex of interactions and social and cultural experiences. This paper analyzes music festivals in SE Europe in their function as a planetary prouction, combining regional cross-cultural perspectives and local politics. At the beginning of the 1990s music events in SE Europe (concerts, festivals, cultural happenings) were either a part of political conflict, antagonisms and economic crises, or they were included in the music world through the cultural contacts of global achievements – the music net and industry. Music festivals become the arena and scene of a contradictory reality in these places, being made up of individual, group interests, needs, establishment strategy and politics. To illustrate this phenomenon the paper presents the biggest festivals and spectacles in Serbia and SE Europe: EXIT festival (Novi Sad) attracted thousands of techno and rock lovers with the participation of many famous bands; and the folk trumpet playing festival (Guča), which each summer for several decades has been attracting thousands of lovers of ethno sound to a fair-carnival atmosphere. This ethnological research stresses complex property divisions – lifestyle, music genres, political strategies, scene movements and economic interests.
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Han, Mingzhao. "Branding Strategies of Outdoor Music Festival: A Case Study of Strawberry Festival." BCP Business & Management 38 (March 2, 2023): 2072–78. http://dx.doi.org/10.54691/bcpbm.v38i.4038.
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With the change of music industry, the traditional recording industry began to decline, and diversified music forms were accepted by people. Outdoor music festival is one of the representatives, it is gradually gaining more and more attention due to high participation and immersive on-site experience and occupying more share in entertainment market. Compared with other forms of music performance, music festival is not only a platform to show a variety of styles and types of music performance, but also can be integrated with tourism and other forms of business, forming a comprehensive entertainment industry model. Even in the post-pandemic world, music festivals still show a astonishingly development trend. In the face of fierce competition in the music market, how to play the role of branding and establish a new normal for event promoting should be considered by music festival organizersThe study took outdoor music festival as the research object, case on China Strawberry Music Festival to elaborate the development status of China's outdoor music festival and the problems existing in the branding process, discussed the developing pattern of strawberry Music Festival branding from two aspects of positioning and strategy.The study investigated the promotion effect of exact branding strategies on the development of music festivals, and proposed a practical path for the branding music festivals using brand marketing theory and literature research. The study puts forward the strategy of outdoor music festival branding in brand positioning, brand communication, brand management and other aspects, and concludes the importance of combining the analysis of music festival and city.
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Hodak, Danijela Ferjanić, Goran Belošević, and Antonio Vlahov. "Towards better understanding electronic music festivals motivation." Zagreb International Review of Economics and Business 23, no. 2 (November 1, 2020): 141–54. http://dx.doi.org/10.2478/zireb-2020-0018.
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AbstractElectronic music festivals became one of the most successful forms of tourism for young adults. In the paper, authors aimed to explored the motivation and the perception of the potential visitors of electronic music festivals in Croatia and to identify the key dimensions of electronic music festivals. Instrument used for the primary research was a structured on-line questionnaire distributed among students of the University of Zagreb. In total, 350 questionnaires were collected and analyzed. Factor analyses resulted with three factors concerning motivation (music and fun, travel, socialization). Motives with the highest mean value are closely related with the core of electronic music festival offer, but other motives should not be neglected. Paper provides several recommendations for the improvement of electronic music festival offer and suggest the direction and possibilities for the future research.
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Giurgea, Corina Maria, Carmen-Anca Safta, Ciprian Lupu, Mihaela Ordean, and Dan Opruţa. "Water management issues in the context of music festivals." IOP Conference Series: Earth and Environmental Science 1136, no. 1 (January 1, 2023): 012010. http://dx.doi.org/10.1088/1755-1315/1136/1/012010.
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Abstract In recent years, festivals, especially music festivals have become important vectors for promoting their host cities. Festivals are complex phenomena with high economic and socio-cultural impact. High CO2 emissions and huge resource consumption are commonly related to the festivals’ negative environmental impact. Ensuring the suitable amount of water for a large-scale event is essential for both the audience experience and the city residents, especially when their access to water is hindered by excessive water usage for the festival. Therefore, an accurate estimation of water consumption during festivals is a prerequisite for rigorous water planning. In the Covid-19 world, due to the worsening crisis of resources and to the increasing pressure exerted by audiences asking for more eco-conscious events, festival organizers are called to get together with other stakeholders and re-examine the water management issues. Water companies have already started to embrace digital solutions. Their further implementation will result in a large amount of environmental data that could contribute to a paradigm shift concerning festival sustainability. The present paper was conceived around this topic, with the goal of increasing the awareness of all the actors involved in festival operational processes. Outcomes of a desk research and a case study focused on the UNTOLD and Electric Castle music festivals are presented.
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Kõmmus, Helen. "How to Participate in Participatory Music Making at a Contemporary Folk Music Festival: Runosong Nests at the Viljandi Folk Music Festival and Pelimanni Evenings at the Kaustinen Folk Music Festival." Folklore: Electronic Journal of Folklore 91 (December 2023): 141–64. http://dx.doi.org/10.7592/fejf2023.91.kommus.
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The article studies, compares and analyses participatory music making at Estonian and Finnish folk music festivals. By comparing the empirical research materials collected during comprehensive fieldwork in 2004–2019 from the regilaulupesa (Eng. runosong nest) of the Viljandi Folk Music Festival (Est. Viljandi pärimusmuusika festival) in Estonia and from the pelimanni (Eng. folk musician, fiddler) evenings of the Kaustinen Folk Music Festival (Fin. Kaustisen kansanmusiikkijuhlat) in Finland, answers were sought to the following questions: What kind of participatory music making takes place at these folk music festivals? What are the social dynamics between and within the groups and individuals in participatory music making situations? How are the primary and secondary functions of music making formed? As a result of the qualitative comparative phenomenological research, it was found that although in participatory music situations at Estonian and Finnish folk music festivals the musical behaviour of participants and the social dynamics of groups could differ radically, they still strive for direct musical experience at a community and personal level and bring the older musical tradition closer to the contemporary people. During participatory music making the secondary function, that is, musical behaviour directed outside the group, could turn naturally into a primary function – musical activity that unites the community and fulfils its internal needs. Situations of participatory music making at Estonian and Finnish contemporary music festivals revealed the common music making as a cultural, social, creative, and emotional phenomenon which has symbolic and direct connections with traditional Finnic folk music culture.
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RENIHAN, COLLEEN. "Pitching Opera: Innovating New Music Theater at Banff and Stratford, 1970–1990." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 33–50. http://dx.doi.org/10.1017/s1752196319000531.
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AbstractThe Banff Summer Festival of the Arts and the Stratford Summer Music Festival have been unrecognized sites of operatic innovation in Canada. Indeed, the flourishing of what might be termed “new music theater” in Canada is imbricated with the history of these two festivals. Archival research reveals that the inventive, often revolutionary, approaches to music theater honed at Stratford and Banff from 1970–1990 ultimately defined the course of Canadian new music theatre in the decades that followed. Founded in 1953 as a Shakespeare festival, the Stratford Festival eventually became renowned for its (nearly exclusive) focus on musical theater. At Banff, discussions about generic innovation occurred regularly, producing what I suggest was one of the foremost centers in the world for innovation in music theater. Charting the development of opera in Canada through conversations that took part at the Banff and Stratford festivals during the period 1970–1990 reveals the unique possibilities that the peripheral positioning of these festivals—aesthetically, critically, and geographically—offered to the development, dissemination, and innovation of so-called new music theater in Canada.
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Kinnunen, Maarit, and Antti Honkanen. "Impacts of the COVID-19 pandemic on music festival attendees." Popular Music 40, no. 3-4 (December 2021): 317–46. http://dx.doi.org/10.1017/s0261143021000611.
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AbstractAs festivals were cancelled or people were afraid of participating in mass gatherings during the COVID-19 pandemic, the well-being effects of festival participation were missed. How can these missed hedonic, eudaimonic or social well-being impacts be described, and how has the prolonged absence of live music events and the cancellation of the festival summer influenced attitudes towards festivals? Research data comprised nearly 13,000 responses to the Finnish Festival Barometer 2020 at a time when all the large festivals had been cancelled. Clustering the COVID-19 related questions led to three segments named Covid-cautious, Music-driven and Experience-oriented. The findings indicate challenges for event organisers, particularly in terms of communality. The theoretical contribution of this study is in scrutinising the well-being effects of festival attendance at a time when festivals were banned. Thus, survey participants could say the factors they missed most, revealing the most important well-being dimensions for their festival attendance.
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Szymkiewicz, Aleksy. "Identity, place and values. On construction and internalization of festival normalities on the examples of music festivals in Poland." Journal of Urban Ethnology 19 (December 20, 2021): 153–70. http://dx.doi.org/10.23858/jue19.2021.010.
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The aim of this paper is to compare of how two different festivals stimulate specific norms and perceptions, and therefore to present the way in which the visions of the festival cities are reproduced by the festival audience based on the axio-normative orders contained in the missions of the events. Based on the shared symbols and life strategies promoted by festivals, participants (re)build their identity which they manifest in chosen cultural practices. The article attempt to answer the following question: what is shared by festival-goers? Are the main motivations for participating in the vent due to shared musical tastes or also specific values and lifestyles, and consequently a common identity? It has been shown that the values promoted during festivals are declared by their organizers – they are present in the visual identification, seminars, workshops, etc. Festivals create their narratives based on symbols such as logos, attitude smartphones, or festival slogans which contain condensed axio-normative systems that create the boundaries of the community. It influencesthe behavior of festival goers: the city’s vision, ways of spending free time, and their identity. The places where the fieldwork was conducted were: “Henryk Rasiewicz National Festival of Unbreakable and Independent Songs in Kraków”, “Ostróda Reggae Festiva” in Ostróda, and the “Song of Our RootsFestival” in Jarosław.
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Skliamis, Kostas, and Dirk J. Korf. "Cannabis festivals and their attendees in four European cities with different national cannabis policies." International Journal of Event and Festival Management 10, no. 2 (September 18, 2019): 138–54. http://dx.doi.org/10.1108/ijefm-08-2018-0049.
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Purpose The purpose of this paper is to: describe and contextualize the aims and distinctive and common characteristics of cannabis festivals in countries with different cannabis policies; assess characteristics of participants; identify reasons to attend cannabis festivals; explore to which extent cannabis festivals contribute to the social and cultural acceptance of cannabis, as perceived by attendees. Design/methodology/approach The approach incorporates three methods of data collection in the research design; quantitative research among 1,355 participants, participant observation and interviews with the organizers. Findings Cannabis festivals in Amsterdam, Berlin, Rome and Athens have common features but also maintain and reproduce local, social and cultural characteristics. Cannabis festivals, as well as their attendees, represent heterogeneous categories. The style of the festival – music festival or march combined with music – affects the main reason for attendance by the participants. In cannabis festivals more similar to music festivals the majority of the respondents attended for entertainment while at the cannabis festivals in the form of a march combined with music the majority attended for protest. Furthermore, increasing age, residency and the high frequency of cannabis use are factors that led the participants to attend for protest. Originality/value The research on cannabis festivals is limited. This paper not only explores the aims of cannabis festivals in four capital cities of Europe and the characteristics of their attendees including motivations, but also offers interesting insights for understanding the ways in which political and social constructions like cannabis festivals shape attitudes, perception and behaviors around cannabis use.
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Jones, Tracie. "Mortality at Music Festivals." Prehospital and Disaster Medicine 34, s1 (May 2019): s151. http://dx.doi.org/10.1017/s1049023x19003388.
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Introduction:Fatalities at music festivals are seldom reported in the academic literature, making it difficult to understand the full scope of the issue. This gap in our knowledge makes it challenging to develop strategies that might reduce the mortality burden. It is hypothesized that the number of fatalities is rising. Building on earlier research, two further years of data on mortality at music festivals was analyzed.Methods:Synthesis of grey/academic literature.Results:The grey literature for 2016-2017 documented a total of 201 deaths, including both traumatic (105; 52%) and non-traumatic (96; 48%) causes. Deaths resulted from acts of terror (n = 60), trampling (n = 13), motor-vehicle-related (n = 10), thermal injury (n = 6), shootings (n = 5), falls (n = 4), structural collapses (n = 3), miscellaneous trauma (n = 2), and assaults (n = 2). Non-traumatic deaths included overdoses/poisonings (n = 41), miscellaneous causes (n = 36), unknown/not reported (n = 18), and natural causes (n = 1). The majority of non-trauma-related deaths were related to overdose (44%). No academic literature documented fatalities that occurred while attending a music festival during 2016 or 2017.Discussion:Reports of fatalities at music festivals are increasingly common. However, the data for this manuscript were drawn primarily from media reports, a data source that is problematic. Currently no rigorous reporting system for fatalities exists. In the context of safety planning for mass gatherings, a standardized method of reporting fatalities would inform future planning and safety measures for festival attendees. The hypothesis that mortality rate reporting increased was substantiated. However, the proliferation of music festivals, the increase in attendance at these events, and the overall increase in internet usage may have influenced this outcome.
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Tjora, Aksel. "The social rhythm of the rock music festival." Popular Music 35, no. 1 (November 30, 2015): 64–83. http://dx.doi.org/10.1017/s026114301500080x.
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AbstractOn the basis of observational studies in a number of rock music festivals during the period 2004–2012, I ask the following question in this paper: how does the music festival community arise and how is it maintained? With the help of perspectives from interactionist sociology and organisational studies I develop an analysis of how rock music festival ‘skills’ are collectively produced. A communally acknowledged competence is negotiated and made explicit by means, among other things, of the synchronisation of a daily rhythm that becomes common to many festivals. The present analysis will employ a close description of this rhythm's phases, and how transitions between them are interactively negotiated. While rock music festivals certainly celebrate fandom, this paper draws attention to processes that build strong senses of community between participants while joining together in the camping site, outside stage areas. The social rhythm, as it is interactively and artfully produced between participants, makes the festival recognisable as a festival, and attractive as a social event. A profound sense of connectedness between participants is to be found between the tents in the festival camp.
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Krstić, Marija. "All Roads Lead to Guča: Modes of Representing Serbia and Serbs during the Guča Trumpet Festival." Issues in Ethnology and Anthropology 7, no. 2 (February 28, 2016): 447–70. http://dx.doi.org/10.21301/eap.v7i2.7.
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In this paper I research famous Serbian music event, the Dragačevo Trumpet Festival, better known as the Guča festival, by analysing on line photographs about the festival. The Dragačevo Trumpet Festival is one of the most famous music festivals in Serbia and one of the most famous brass band festivals in the world. Since 1961, it is annually held in the village of Guča in western Serbia. From 1962, the participants from other parts of Serbia came to Guča, while in 1963 for the first time the Roma players participated. From that time on, Roma remained among the best trumpeters at the competitions. However, during these fifty years, the festival always demonstrated and was conceptualised as the carrier of the Serbian folk tradition and culture. In my research I use visitors’ photographs available on one of the websites dedicated to Guča, www.guca.rs, in order to question how the festival’s photographs visually represent the Serbs. The main goal of the paper is to explain and show how Guča festival found its place in modern Serbia in spite of its rural, folk, barbarian and sometimes nationalist representation.
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Karsono, Karsono. "Tourism and education intersection: cultural reproduction of Osing community in the Angklung Caruk music festival." International Journal of Visual and Performing Arts 5, no. 2 (November 10, 2023): 106–19. http://dx.doi.org/10.31763/viperarts.v5i2.1164.
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Music festivals are social and cultural events mostly seen as activities to present artistic expressions for the audience to enjoy. If it is investigated closely, the presentation of work at festivals is the final culmination of training and learning, both of which are essential elements of the educational process. This research aims to examine and show that music festivals have educational elements, even in the context of tourism interests. The music festival studied was the Angklung Caruk Festival, a type of traditional music from the Osing community. The festival competes for musical skills between student angklung groups in Banyuwangi, East Java. The research uses ethnographic methods to discover and explain the intersection between festivals' education and tourism dimensions. Data collection uses participant observation techniques, interviews, document study, and documentation. Data analysis uses an ethnographic model, including domain analysis, taxonomy, components, and cultural themes. The research results show that the Angklung Caruk music festival is an arena for competition in the beauty of musical works between student groups to achieve victory. This competition has become a tourism commodity packaged under the title Banyuwangi Festival. To present their best musical works, each angklung group receives intensive and profound education from professional musicians, with the support of the school, government, and parents. Thus, the Angklung Caruk Festival is an arena for reproducing Osing traditional music culture which has an economic and educational dimension. It has an impact on strengthening the identity and social repositioning of the Osing community in the present and future.
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Zmudzińska, Kamila, and Roman Matykowski. "Spatial and social aspects of the impact of Pol’and’Rock Festival and Jarocin Festival in Poland." Journal of Geography, Politics and Society 13, no. 2 (September 29, 2023): 46–66. http://dx.doi.org/10.26881/jpgs.2023.2.05.
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Among the popular music festivals operating in Poland in the last forty years, two of them played a special role, especially for their young recipients of amplified music. The first of them was the Rock Festival in Jarocin (it had different names) functioning in the years 1980–1994, so still in the period of communist authorities. Reactivated in 2005, it recently operates under the name Jarocin Festival and uses the legend of the event from the 1980s. In the new socio-political conditions, the second important event, the Pol’and’Rock Festival (called Woodstock Station in 1995–2017), began to function in 1995, which in the late 1990s exceeded 100,000 participants and became the largest popular music event in Poland. The aim of the study is to characterise the impact of these two important popular music festivals in Poland at the turn of the second and third decade of the 21st century in the spatial and socio-cultural dimensions on the community of its participants. Referring to the traditional chorological paradigm of human geography, an analysis of the differentiation of the territorial impact of festivals was made, and using patterns immersed in social geography-oriented music research, factors motivating to participate in festivals were determined.
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Pope, David A., and James P. Mick. "How Positive Festival Results Impact a Music Program." Music Educators Journal 105, no. 1 (September 2018): 33–38. http://dx.doi.org/10.1177/0027432118792071.
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Adjudicated festival ratings can affect developing musicians, ensemble directors, and music programs long after festival performances end. With prior research demonstrating that adjudicators provide an abundance of positive ratings at festivals, this article discusses how ratings—both appropriate and inappropriate—may influence students’ musical development and the growth of music programs, as well as ensemble directors’ professional development. Based on their personal teaching philosophies and the discussion points in this article, directors are encouraged to determine whether their current adjudicated festivals stimulate or obstruct the development of their students, their music programs, and themselves.
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Stajić, Jana. "The user's perception of the quality of service in organizing music festivals using the SERVQUAL model." Tehnika 79, no. 2 (2024): 227–34. http://dx.doi.org/10.5937/tehnika2402227s.
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In this paper, the user's perception of the quality of the music festival organizing service was analyzed. The tool for measuring the quality of music festivals is based on the SERVQUAL model. The research was conducted during the months of May and June, 2023. The obtained results can be useful to the organizers of music festivals in order to improve the quality of the services they provide. The EXIT festival, which is organized in July every year in the Petrovaradin Fortress, in Novi Sad, Serbia, was used as the subject of analysis.
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Pavluković, Vanja, Uglješa Stankov, and Daniela Arsenović. "Social impacts of music festivals: A comparative study of Sziget (Hungary) and Exit (Serbia)." Acta geographica Slovenica 60, no. 1 (May 26, 2020): 21–35. http://dx.doi.org/10.3986/ags.6514.
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Music festivals are often seen as a key driver of the city's economies. Therefore, there is an increasing interest in the impacts associated with them. The aim of this research is to examine residents' perceptions of the social impacts of two European music festivals, Sziget (Budapest, Hungary) and Exit (Novi Sad, Serbia), applying the modified Festival Social Impact Attitude Scale and to compare the results using Importance–Performance Analysis. Similarities and differences in perceptions of social impacts of two festivals are discussed with the proposition of priorities for destinations. The findings contribute to a deeper understanding of residents' attitudes toward the impacts of festivals and can be utilized by local authorities to increase the positive and reduce the negative impacts of the festival.
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Chang, Jung-Jung, Ruey-Feng Chen, and Chia-Li Lin. "Exploring the Driving Factors of Urban Music Festival Tourism and Service Development Strategies Using the Modified SIA-NRM Approach." Sustainability 14, no. 12 (June 20, 2022): 7498. http://dx.doi.org/10.3390/su14127498.
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Urban music festivals play an important role in tourism. Festival tourism attracts fans and event participants from all over the world. They can contribute not only to the tourism industries but also to local and regional economic development. This study focuses on how urban music festival tourism can successfully attract tourist participation. It explores the service needs and the critical factors that affect tourists’ favorable participation decisions. The SIA (Satisfaction Importance Analysis) approach was applied to evaluate the service performance aspects/criteria for urban music festival tourism. The study used the NRM (Network Relation Map) approach to determine the acceptation paths. This study also provides sustainable development strategies and suitable development paths through the SIA-NRM approach. The findings of this study reveal the ranking of importance of service attributes and performance qualities perceived by tourists of urban music festivals. It provides recommendations to the music festival organizers and for local governments’ strategic directions, leading to successful music festival tourism.
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Caleta, Josko. "The festival of Dalmatian klapa in Omis as an example of the festivalization of Croatian traditional music." Muzikologija, no. 35 (2023): 67–85. http://dx.doi.org/10.2298/muz2335067c.
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The term ?folk music? in Croatia is closely related to the history of its performance at festivals and other related public events. Festivals (smotre) were an appropriate field of application in the place of canonization of traditional music. Through their existence and activity, various musical genres, styles, and performers were profiled. All of the above will be defined and analyzed through the example that is the focus of this research - the Festival of Dalmatian klapa in Omis, a festival that formatted, institutionalized, and popularized klapa singing.
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Lee, Jae Yeon, and Seong-Joon Limb. "A Study on the Factors Affecting Satisfaction and Behavioral Intention of Electronic Dance Music Festival." Korea Association Of Cultural Economics 25, no. 2 (August 31, 2022): 145–72. http://dx.doi.org/10.36234/kace.2022.25.2.145.
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This study identified what factors the audience considers when choosing to visit the EDM festival, and analyzed which selection factors affect satisfaction and behavioral intentions.
To this end, a survey was conducted with 317 people who had visited EDM festivals.
As a result of the analysis, the audience's choice of EDM festivals were identified as 9 factors (sense of unity factor, sociability factor, service factor, information and accessibility factor, DJ's performance factor, reputation and recognition factor, alcohol price and diversity factor, promotion factor, ticket factor). However, among these EDM festival selection factors, only the sense of unity factor, DJ performance factor, alcoholic beverage price and diversity factor were found to have a significant positive (+) effect on satisfaction and behavioral intention. In particular, it was found that the sense of unity factor related to social interaction, which is a characteristic of EDM festivals, has the greatest influence on the satisfaction and behavioral intention of the audience. The results of this study will be able to provide practical implications for EDM festival planning and marketing.
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Christiani, Jessica. "Perspektif Bisnis Dalam Prambanan Jazz Festival Yogyakarta." PROMUSIKA 10, no. 2 (December 3, 2022): 113–22. http://dx.doi.org/10.24821/promusika.v10i2.7354.
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Prambanan Jazz sebagai salah satu festival musik skala internasional. Prambanan Jazz tergolong dalam kategori festival musik profit. Secara eksplisit festival Prambanan Jazz dapat dilihat melalui deretan musisi popular yang dihadirkan, pemberian harga tiket yang cukup mahal, serta terlibatnya pihak sponsorship dalm acara. Prambanan Jazz merupakan fenomena sosial adalah salah satu festival musik yang berhasil memperoleh loyalitas dan animo masyarakat. Fakta di lapangan seputar euphoria masyarakat menyambut hadirnya Prambanan Jazz dengan bukti dari penjualan tiket yang habis terjual dan meningkatnya antusias penonton dari tahun ke tahun. Studi tentang sebuah festifal seperti Prambanan Jazz ini dilakukan untuk mengupas dimensi bisnis dari pertunjukan musik dalam bentuk festival dan mengungkap perspektif bisnis tim pengelola. Tujuannya penelitian adalah untuk mengetahui kacamata tim promotor dalam mengelola sisi bisnis Prambanan Jazz, serta strategi dibalik kesuksesan festival. Metode studi yang digunakan adalah kualitatif deskriptif. Data yang dikumpulkan melalui wawancara dengan 4 orang narasumber yang merupakan tim inti pengelola. Hasil temuan penelitian ini menunjukkan terdapat dua pilar utama bisnis yang ada dalam Prambanan Jazz Yogyakarta. Pilar pertama adalah bisnis pertunjukan musik yang meliputi konsep dan konten yang dihadirkan dalam festival. Pilar kedua adalah tentang bisnis di dalam venue. Pengelolaan Prambanan Jazz Yogyakarta cenderung menggunakan strategi win win solution, serta strategi kurasi musik demi mendukung optimalisasi penyelenggaraan festival.AbstractBusiness Perspectives in Prambanan Jazz Festival Yogyakarta. As one of the international scale music festivals, Prambanan Jazz belongs to the category of profit music festivals. This can be seen explicitly through the rows of popular musicians presented, the ticket prices are quite expensive, and the involvement of sponsors in the event. The social phenomenon where Prambanan Jazz Festival has become one of the festivals that has managed to gain the loyalty and interest of the community cannot be avoided. Facts on the ground regarding the community's euphoria welcoming Prambanan Jazz Festival 's presence, to the fact that tickets were sold out, and the increasing enthusiasm of the audience from year to year are proof that this festival has succeeded in winning the hearts of the public.This study was conducted to explore the business dimension of this festival and reveal the business perspective of the management team. The aim is to find out the perspective of the promoter team in managing the business side of Prambanan Jazz, as well as the strategy behind the success of this festival. The study method used is descriptive qualitative. Data was collected through interviews with 4 informants who are the core management team. The findings of this study indicate that there are two main business pillars in Prambanan Jazz Festival. The first pillar is the music show business which includes the concept and content presented at the festival. The second pillar is about the business within the venue. In its management, it tends to use a win win solution strategy and music curation strategy to support the optimization of the festivalKeywords: Music Festival; Prambanan Jazz; Business
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Fileborn, Bianca, Phillip Wadds, and Stephen Tomsen. "Sexual harassment and violence at Australian music festivals: Reporting practices and experiences of festival attendees." Australian & New Zealand Journal of Criminology 53, no. 2 (February 14, 2020): 194–212. http://dx.doi.org/10.1177/0004865820903777.
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Despite the well-documented under-reporting of sexual violence, to date, no research has considered reporting practices within the specific context of music festivals. Drawing on 16 in-depth interviews with victim-survivors, this article examines survivors’ experiences of (non)reporting sexual violence in festival settings. We argue that while some barriers to reporting are shared across contexts, others play out in context-specific ways. Our research argues that the liberal, often transgressive culture of music festivals, combined with site-specific policing practices and spatial context, creates unique impediments to reporting with particular implications in responding to, and aiming to prevent, sexual violence at music festivals.
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Portugal, João Pedro, Antonia Correia, and Paulo Águas. "Decisions on participation in music festivals: an exploratory research in Portugal." International Journal of Event and Festival Management 13, no. 2 (January 11, 2022): 164–81. http://dx.doi.org/10.1108/ijefm-07-2021-0059.
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PurposeMusic festivals offer new opportunities for leisure and tourist experiences in Portugal. Some tourists and residents, the so-called festival goers, participate and come back to these events, whereas others, the non-goers, never participate and are not willing to do so. The aim of this research is to understand the decision to participate or not based on facilitators and constraints to participate or not in a music festival, dismantling residents and tourists' attitudes.Design/methodology/approachData were collected from 1,178 music festival goers and non-goers in Portugal. Content analysis was undertaken to depict the most important determinants of their decisions. Those determinants were categorized according to the three dimensions of factors of ecological systems theory, considering festival goers and non-goers as well as tourists and residents.FindingsThe results suggested that although constraints are not as often voiced as facilitators, both influence decisions that are expressed as delaying, postponing, avoiding or complying with others by participating in these events. Furthermore, the results suggested that the decision to participate or not depends on the social contexts of the festival goers or non-goers, and that these social contexts may invert their decision, be it by facilitating or constraining their participation.Research limitations/implicationsThis research is limited to festivals in Portugal and used a qualitative analysis that may be confirmed in other countries with quantitative methods. Nevertheless, this research opens paths to discuss facilitators and constraints through ecological system theory and gives insights into this industry.Practical implicationsThe results provide important insights for festival organizers to retain and build long-term relationships with festival goers. The results also provide insights into how to overcome the resistance which non-goers demonstrated.Social implicationsThis research offers an in-depth and insightful understanding of individuals' attitudes towards music festivals, allowing festival demand to be better understood. Furthermore, this research proves that attendance of music festivals is mostly a socially driven behaviour.Originality/valueBy eliciting facilitators and constraints of the decision to participate in music festivals, considering residents and tourists, festival goers and non-goers, this study provides a deeper understanding of the decision to participate, through a theoretical framework which is rarely applied in this field.
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FitzGibbon, Kathleen M., Jose V. Nable, Benjamin Ayd, Benjamin J. Lawner, Angela C. Comer, Richard Lichenstein, Matthew J. Levy, Kevin G. Seaman, and Ian Bussey. "Mass-Gathering Medical Care in Electronic Dance Music Festivals." Prehospital and Disaster Medicine 32, no. 5 (June 19, 2017): 563–67. http://dx.doi.org/10.1017/s1049023x1700663x.
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AbstractIntroductionElectronic dance music (EDM) festivals represent a unique subset of mass-gathering events with limited guidance through literature or legislation to guide mass-gathering medical care at these events.Hypothesis/ProblemElectronic dance music festivals pose unique challenges with increased patient encounters and heightened patient acuity under-estimated by current validated casualty predication models.MethodsThis was a retrospective review of three separate EDM festivals with analysis of patient encounters and patient transport rates. Data obtained were inserted into the predictive Arbon and Hartman models to determine estimated patient presentation rate and patient transport rates.ResultsThe Arbon model under-predicted the number of patient encounters and the number of patient transports for all three festivals, while the Hartman model under-predicted the number of patient encounters at one festival and over-predicted the number of encounters at the other two festivals. The Hartman model over-predicted patient transport rates for two of the three festivals.ConclusionElectronic dance music festivals often involve distinct challenges and current predictive models are inaccurate for planning these events. The formation of a cohesive incident action plan will assist in addressing these challenges and lead to the collection of more uniform data metrics.FitzGibbonKM, NableJV, AydB, LawnerBJ, ComerAC, LichensteinR, LevyMJ, SeamanKG, BusseyI. Mass-gathering medical care in electronic dance music festivals. Prehosp Disaster Med. 2017;32(5):563–567.
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Griffin, Christine, Andrew Bengry-Howell, Sarah Riley, Yvette Morey, and Isabelle Szmigin. "‘We achieve the impossible’: Discourses of freedom and escape at music festivals and free parties." Journal of Consumer Culture 18, no. 4 (December 25, 2016): 477–96. http://dx.doi.org/10.1177/1469540516684187.
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In this article, we explore the notion of freedom as a form of governance within contemporary consumer culture in a sphere where ‘freedom’ appears as a key component: outdoor music-based leisure events, notably music festivals and free parties. ‘Freedom’ is commodified as central to the marketing of many music festivals, which now form a highly commercialised sector of the UK leisure industry, subject to various regulatory restrictions. Free parties, in contrast, are unlicensed, mostly illegal and far less commercialised leisure spaces. We present data from two related studies to investigate how participants at three major British outdoor music festivals and a small rural free party scene draw on discourses of freedom, escape and regulation. We argue that major music festivals operate as temporary bounded spheres of ‘licensed transgression’, in which an apparent lack of regulation operates as a form of governance. In contrast, free parties appear to ‘achieve the impossible’ by creating alternative (and illegal) spaces in which both freedom and regulation are constituted in different ways compared to music festival settings.
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Kruger, Martinette, and Melville Saayman. "Segmenting beyond behavioural intentions." International Journal of Event and Festival Management 8, no. 2 (June 5, 2017): 204–23. http://dx.doi.org/10.1108/ijefm-09-2016-0064.
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Purpose The purpose of this paper is to determine whether a music festival leads to additional intangible benefits such as the appreciation of the specific music genre and music tourism. This was done by using visitors’ behavioural intentions related to these benefits as a tool for market segmentation. Design/methodology/approach The research followed a quantitative approach by conducting a visitor survey at an international jazz festival in South Africa. Findings The results showed that visitors’ post-festival behavioural intentions are a useful market segmentation tool. This approach revealed three distinct market segments with different levels of post-festival behavioural intentions (high, medium, and low). The results further showed that music festivals have the potential to create benefits beyond the festival itself or the host destination in the form of music tourism and the appreciation of a music genre. However, influencing visitors’ behavioural intentions can only be achieved by a thorough understanding of the characteristics of the market. Originality/value This research applied an innovative market segmentation approach that showed the post-festival behavioural intentions of different visitor segments at a music festival. The findings confirm that music festivals can have far-reaching benefits that can contribute to their legacy.
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Niu, Panqiang, Zetong Li, and Anang Masduki. "Influencing Factors of Audience's Willingness to Consume of Outdoor Music Festival Based on Grounded Theory." Jurnal ASPIKOM 8, no. 1 (February 28, 2023): 123. http://dx.doi.org/10.24329/aspikom.v8i1.1239.
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This paper adopts grounded theory to conduct an exploratory study on the influencing factors of outdoor music festival audience's willingness to consume. First, we used 'music festival' as the search keyword to collect secondary information such as blog posts, online pictures, and news reports related to outdoor music festivals. Then, based on the previous research and the author's experience, this paper conducted ten one-on-one in-depth interviews and a group interview with the Nanjing Forest Music Festival in China as the field research object. On this basis, the article performed word frequency analysis and semantic network analysis on the text data and obtained keywords with high frequency and the core words in focus. Finally, according to the triple coding results of the grounded theory, combined with the cognitive mediation model, a model of influencing factors of the audience's willingness to consume in outdoor music festivals is constructed
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E.O., Acquah, and Owusu-Ansah J. "Abele Indigenous Musical Genre in the Context of Yeji Kajoji Festival." African Journal of Culture, History, Religion and Traditions 4, no. 1 (May 29, 2021): 29–40. http://dx.doi.org/10.52589/ajchrt-8dj4tji6.
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The role of indigenous musical performances in traditional festivals has been very significant in the lives of Africans. In Ghana, some of such festivals are pivoted on particular distinctive natures of the indigenous music. One of such musical genres is the Abele music performed by the people of Yeji in the Bono-East region of Ghana. This music is formalized in the context of the Kajoji festival celebrated annually by the community. Through ethnographic research design, the study documents the role of Abele music in the context of the Yeji Kajoji annual festival. The reason is to add to the literature of traditional music scholarship in Ghana while the source materials from the music can be used in the music classroom for music learning. In dealing with the study, participant’s observation and interview were used to collect the needed data. Participants for the study included some purposely selected members of the Abele musical ensemble as well as the paramount chief of the area. It was found out that the Kajoji festival is a very vital mainspring of the traditional education and the remit of the people’s culture while the Abele music serves as the side attraction of this festival.
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Ismail, Khairiah, Nawal Hanim Abdullah, Hamimah Hassan, and Norol Hamiza Zamzuri. "Does Festival-goer is a Risk-Taker?" Environment-Behaviour Proceedings Journal 6, SI4 (July 31, 2021): 171–76. http://dx.doi.org/10.21834/ebpj.v6isi4.2916.
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This paper examines festivalgoers' risk-taking behaviour, focusing on a Malaysian music festival. A qualitative methodology based on in-depth interviews with 15 music festival-goers. The respondents' risk-taking behaviour was examined using DOSPERT, including financial, health and safety, recreation, ethical, and social domains. The findings show that the previous music festival's risks did not affect festivalgoers' motivation to attend. A significant impact on government, organiser, and society. Respondents offered some guidelines for organising a music festival. Since very few papers examine the prospect of risk in music festivals, the adoption of DOSPERT provides much-needed rich and credible data. Keywords: Risk-taking Behavior, Risk, Music Festival, Event eISSN: 2398-4287© 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians/Africans/Arabians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI4.2916
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Bossey, Adrian. "Accessibility all areas? UK live music industry perceptions of current practice and Information and Communication Technology improvements to accessibility for music festival attendees who are deaf or disabled." International Journal of Event and Festival Management 11, no. 1 (February 11, 2020): 6–25. http://dx.doi.org/10.1108/ijefm-03-2019-0022.
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PurposeThis paper responds to a range of theory and industry reporting, to provide an informed narrative which explores the current state of accessibility at UK festivals for people who are Deaf or disabled and the potential implications of developments in ICT for enhancing design, marketing, operations and performances across all phases of festival delivery, in order to improve inclusivity and accessibility. To this end, the paper addresses the following question: What do representatives of the UK live music industry perceive as barriers to accessibility and exemplars of current best practice for music festival attendees who are Deaf or disabled? What do representatives of the UK live music industry consider as the role of ICT to increase accessibility for music festival attendees who are Deaf or disabled?Design/methodology/approachPrimary research focused on supply-side considerations with a sample group of 10 UK live music industry professionals. The scope of the research was limited geographically to England and by artform to open-air music festivals, venues which host some music festival provision and a Sector Support Organisation. Open questions elucidated qualitative information around; awareness of accessibility and inclusivity initiatives; potential for co-creation; non-digital improvements; current technological influences; and potential digital futures for accessible “live” experiences. A conceptual framework was constructed and semi-structured face-to-face interviews were carried out with six respondents, and four respondents completed a structured, self-administered e-mail questionnaire.FindingsFindings include: ICT can facilitate enhanced dialogue with existing and potential audience members who are Deaf or disabled to both; reduce existing social exclusion (Duffy et al., 2019) and improve the visitor experience for all attendees. All respondents agreed that physical enhancements are important and some mentioned communications and customer care. Respondents reported increasingly ambitious usages of ICT at music festivals, which may support suggestions of a virtual experience trend (Robertson et al., 2015). Online ticketing systems have potential to grant equal functionality to people who are Deaf or disabled, as recommended by the Department for Culture, Media & Sport (2015). Respondents broadly welcomed the potential for positive impacts of ICT on increasingly accessible live experiences at music festivals which retained a sense of authenticity and “liveness”. Challenges around “as live” ICT-derived experiences were identified including risks of creating second-class experiences for Deaf and disabled attendees.Research limitations/implicationsThe limitations of this case study include the small sample size and limited scope.Practical implicationsPromoters should: consider further developing the co-creation of accessibility initiatives, utilising ICT to both deliver improvements and engage with potential audience members who are Deaf or disabled. Seek to pro-actively recruit staff members who are Deaf or disabled and significantly increase their programming of performers who are Deaf or disabled. Consider reviewing their ticketing processes for music festivals, to identify accessibility challenges for audience members and implement appropriate ICT-based solutions. Consider maximising accessibility benefits for audience members who are Deaf or disabled from existing ICT provision on site and explore additional bespoke ICT solutions at music festivals.Social implicationsAdopting the best practices described across the festival sector may improve inclusivity for disabled people at music festivals and other events. Event management educators should consider reviewing provision to ensure that best practice is embedded around accessibility for audience members who are Deaf or disabled. Additional public funding should be provided to drive ICT-derived improvements to accessibility for audience members who are Deaf or disabled at smaller-scale music festivals. Further research should be considered around inclusive approaches to digital experiences within a music festival environment for audience members who are Deaf or disabled and tensions between accessibility and notions of “liveness”.Originality/valueThe “snapshot” of digital aspects of accessibility at UK festivals within this research is of particular value due to paucity of other research in this area, and it's narrative from varied industry professionals. The paper makes recommendations to promoters, academics and public funders, to attempt to advance inclusion (or at least to mitigate current exclusion) and identify directions for future research into accessible digital experiences at music festivals for people who are Deaf or disabled.
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Čekrlija, Saša, and Zlatibor Milić. "THE SIGNIFICANCE OF TOURIST CONSUMPTION FROM THE PERSPECTIVE OF ORGANIZING MUSIC FESTIVALS." SCIENCE International Journal 3, no. 1 (March 14, 2024): 133–37. http://dx.doi.org/10.35120/sciencej0301133c.
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This paper explores the importance of tourist expenditure in the context of organizing music festivals. Music festivals have become crucial elements of cultural and tourist experiences worldwide, attracting a large number of visitors from different parts of the globe. This paper analyzes the impact of tourist spending on the economy and local communities, with a specific focus on the organization of music events. A particular emphasis is placed on the organizational aspects of music events, from the meticulous planning and execution to the intricate interdependence with economic variables. By zeroing in on the organizational intricacies, we aim to uncover the holistic impact of music festivals on both the local and global stage. This exploration extends beyond the mere numerical evaluation of economic contributions; it encompasses the indirect effects on local businesses, the socio-cultural dynamics of communities, and the long-term sustainability of these cultural celebrations. In essence, this topic aspires to provide a comprehensive understanding of how the synergy between tourist expenditure and the organization of music festivals shapes not only the economic landscape but also the intricate tapestry of local communities. It is important to know the transformative potential of music festivals, offering insights that extend beyond the realm of entertainment to inform strategic decisions for organizers, policy makers and stakeholders. The economic impact of music festivals goes beyond the revenue generated by ticket sales. Tourist expenditure injects funds directly into the local economy, benefiting various sectors. Accommodation establishments thrive during festival periods, local vendors experience heightened sales, and transportation services witness increased demand. Additionally, festivals may stimulate the creation of temporary employment opportunities, fostering a short-term economic boost. However, to maximize the positive impact, organizers and local authorities must strategically plan for the influx of visitors.
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Chung, Jellna, Woohyuk Kim, Nayeon Kim, and Sung-Bum Kim. "Examining the Impact of Local Attachment, Prior Knowledge, and Involvement in International Music Festival on Destination Image, Attitude and Support." Institute of Management and Economy Research 15, no. 1 (March 30, 2024): 257–71. http://dx.doi.org/10.32599/apjb.15.1.202403.257.
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Purpose - This study examined the relationship between local attachment, prior knowledge and involvement in the festival, and local image, attitudes toward and support for the festival among people who have visited the Incheon Pentaport Music Festival, the largest music festival in Korea. Design/methodology/approach - A total of 250 samples were used for the final analysis, and SPSS 26.0 and AMOS 21.0 were used to analyze the data. The structural equation model analysis was conducted to test the hypotheses of this study. Findings - As a result of the analysis, first, only local attachment was found to have a positive and significant effect on local image. On the other hand, prior knowledge or involvement in the Incheon Pentaport Music Festival was found to be unrelated to local image. Second, local attachment and involvement were found to have a significant effect on attitude, but prior knowledge was not significant. Last, this paper examined the influence of festival area image and attitude toward the festival on festival support, and found that both have a positive and significant effect on support. Research implications or Originality - This study expands the scope of research on music festivals and is expected to contribute to tourist attraction and marketing strategies for the revitalization of music festivals in the future.
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Fedotova, Yulia V., and Alexandr S. Fedotov. "MUSIC FESTIVAL AS AN EXPERIENCE OF PRESERVING THE CULTURAL MEMORY OF THE PEOPLE (RECONSTRUCTION OF THE URAL MUSIC FESTIVALS OF THE 1930S – 1970S)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 155–65. http://dx.doi.org/10.17223/22220836/43/12.
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The article reconstructs the process of origin and development of the festival movement in the Urals in the 1930s – 1970s in the music and concert sphere. The history of some of the largest festivals is viewed in the context of the formation of the Soviet festive culture and the goals of the Soviet cultural policy. The authors highlight the main holidays, for which the philharmonic society prepared musical programs - the anniversaries of the October Revolution of 1917 and the formation of the USSR, the birthday of V.I. Lenin. Since the late 1930s, the scope of musical programs has steadily increased. More and more organizations were involved in the creative process - philharmonic societies, theaters, libraries, clubs, art centers, departments of public education. The concert space has expanded from the «palaces of culture» and concert halls of the city to the central squares of the city, open spaces outside the cities and villages. In the 60s, favorable conditions for the development of the music industry were formed. Philharmonic music programs turn into mass celebrations, and then into regional festivals of professional, folk and amateur art. These events covered all audiences - schoolchildren, young people, factory workers and agricultural workers, the intelligentsia. Festivals acquired names, received vivid coverage in periodicals. Sometimes preparations for such celebrations took 1–2 years, and the festivals themselves could “travel” by train or car to regional cities and large villages during the whole jubilee year. By the 70s, the Ural music festivals reached the All-Union level, and also acquired international cultural ties. Special attention is paid to the forms of education, the repertoire of groups, geography and the organization of festivals. These festivals are considered by the authors as an instrument of popularizing and educating the “right” values among the people; they were supposed to activate mass practical activities. Ideas that sounded in musical-verbal and visual form from the stadiums, the stage of theaters during the festivals for a long time will be significant and memorable for a whole generation of people in our country. Therefore, a music festival can be considered not just a form of bringing people to the world musical heritage and educating people, but also an effective way to preserve the cultural memory of a people. The article uses archival materials, including those not previously introduced into scientific circulation, which help to understand the significance of these festivals for the regional culture of the Soviet period.
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Piché, Jean. "New Music America." Circuit 1, no. 2 (January 29, 2010): 7–8. http://dx.doi.org/10.7202/902011ar.
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Ce dossier comprend trois parties. Tout d’abord, son directeur artistique, Jean Piché, resitue l’événement montréalais dans la foulée des festivals de même nature qui se sont tenus aux États-Unis les dix dernières années, et le Lyonnais James Giroudon propose un carnet de notes sur l’ensemble du festival. Huit chroniqueurs proposent ensuite des notes sur la totalité des concerts présentés. Dans un troisième temps, une évaluation globale, fortement critique du festival, est présentée par Jean Lesage et Jean-Jacques Nattiez auquel, dans un dernier texte, répond Jean Piché.
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Pakhomov, Yuriy. "Sumy region wind music festivals from the standpoint of cultural and artistic traditions of the region." Culturology Ideas, no. 20 (2'2021) (2021): 163–70. http://dx.doi.org/10.37627/2311-9489-20-2021-2.163-170.
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The article considers such kind of musical activity as festivals of wind music. As a result of research, the emergence and development of some orchestral festivals held in Sumy region at different levels of performance have been traced. Their role in aesthetic and patriotic education is determined, as well as the need for such measures to promote orchestral wind music, preservation and further development of orchestral traditions, which are important both in military rituals and in public life of the region. It has been found that nowadays wind music festivals are a major factor in the development of this genre of performance. Despite the rather wide coverage of the festivals, the events in the genre of orchestral wind music taking place at different levels of performance in Sumy region, did not receive due attention. Coverage of this issue is necessary for proper understanding and analysis of the state of performance on wind instruments in the region. The material of the article will be useful for scholars who study the festival movement and develop issues of history and development of wind music in our country.
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Marcoll, Maximilian. "ECLAT 2017, Stuttgart, Germany." Tempo 71, no. 281 (June 21, 2017): 95–96. http://dx.doi.org/10.1017/s0040298217000389.
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Unlike many other New Music festivals, Eclat has so far resisted the temptation to build the festival programmes around central themes. The Eclat festival is one of the major annual gatherings of the German and international scene for contemporary music, taking place in Stuttgart and organised by ‘Musik der Jahrhunderte’ (Christine Fischer) in collaboration with the SWR (Lydia Jeschke). The lack of a central theme doesn't indicate a pragmatic or vague approach to curation, but the festival organisers’ aim to assemble a selection of artists, ensembles and pieces that are either directly asking or indirectly raising questions considered relevant and at the forefront of the scene's discourse at the time of the event.
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Davies, Karen, Mary Beth Gouthro, Nic Matthews, and Victoria Richards. "Festival Participation, Inclusion and Poverty: An Exploratory Study." Tourism and Hospitality 4, no. 1 (February 2, 2023): 51–74. http://dx.doi.org/10.3390/tourhosp4010005.
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Music festivals (in the UK) have the potential to enhance the quality of life of attendees and participants, and therefore it might be argued they should be accessible to all. However, the barriers to participation that some may face when seeking to access and engage with festival experiences can often be attributed to the issue of marginalisation due to poverty. Utilising the three discourses of social inclusion put forward by Levitas as a framework, the study explores what UK music festival organisations are doing and could do to make their events more accessible to people living in poverty. Through an analysis of a series of festival websites and semi-structured interviews with festival organisers, some of the financial considerations that can influence participation and act as a barrier to making festivals an inclusive aspect of our cultural life were identified, and solutions were explored. The paper found that despite the social benefits of attending, those living in poverty have become an increasingly marginalised group of festival goers as a result of the disproportional rise in costs associated with attendance, which often goes beyond only the ticket price to include hidden extras. Whilst several festivals undertake outreach work and donate to charitable organisations, only a handful have specific initiatives that improve access for those living in poverty beyond spreading out the price of the ticket via instalments and volunteering opportunities. Findings suggest whilst many music festivals are starting to recognise the importance of the issue, few have specific initiatives but are willing to consider what they can do moving forward.
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STORHOFF, TIMOTHY. "Music, Politics, and the Liminality of the Havana Jazz Plaza Festival in the Obama Era." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 70–91. http://dx.doi.org/10.1017/s1752196319000555.
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AbstractAfter the Obama administration (2009–17) began authorizing musical exchanges with Cuba in 2009, Havana's music festivals became a primary site for transnational interactions and a public face for US-Cuban engagement while politicians worked towards normalization in secret. This article uses field research from the Havana International Jazz Festival, interviews with festival participants, and media coverage to explore Cuban music festivals as politically liminal spaces where musical and political life commingled to reflect the changing US-Cuban relationship. While diverse lineups attracted international tourists, artists faced bureaucratic challenges to legally traverse the Florida Straits and create music in the context of intercultural dialogue. Despite these difficulties, Havana as a festival space encouraged musicians to defy genre conventions, explore cultural commonalities, and negotiate social differences on stage during the Havana Jazz Plaza Festival. These transnational interactions culminated in Arturo O'Farrill's album Cuba: The Conversation Continues, which was recorded by US and Cuban musicians in Havana during the 2014 jazz festival and is characteristic of festival exchanges in its representation of a more harmonious international relationship.
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SILVA, PAULO RICARDO MUNIZ, and EDWAR ALENCAR CASTELO BRANCO. "Cantar e seguir a canção ou para não dizer que não esgrimi a palavra: guerra de sentidos e estética da contestação nas canções de protesto em Teresina (1975-1985) * War of senses and aesthetic of refusal in the protest songs in Teresina (1975-1985)." História e Cultura 2, no. 2 (February 3, 2014): 234. http://dx.doi.org/10.18223/hiscult.v2i2.846.
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<p><strong>Resumo:</strong> A música de protesto, categoria já consolidada no âmbito dos estudos sobre música brasileira, marcou a produção musical em Teresina, a capital do Estado do Piauí, durante a década de 1970. Neste contexto, o Festival Estudantil de Música do Piauí (FEMPI), e o Festival do Parque Piauí (FESPAPI), ambos ocorridos entre as décadas de 1970 e 1980, tiveram importância fundamental para a constituição deste quadro histórico. Responsáveis pela popularização de expressivos nomes da arte piauiense, tais como Geraldo Brito, Zé Rodrigues, João Berchmans, Achylles Costa Júnior e Williams Costa, estes festivais acabariam por gerar uma cultura musical de protesto, universo no interior do qual se destacam músicas como Biotema, Arames e Fuzis, Medusa e Represália. O propósito do presente artigo é, apoiado na análise das letras das músicas e, bem como, com o recurso à História Oral, re-conhecer este período e este ambiente da história da música piauiense.</p><p><strong>Palavras-chave:</strong> Música de protesto – Festivais – Piauí.</p><p> </p><p><strong>Abstract:</strong> The protest song, a consolidated category of studies on Brazilian music, marked the music production in Teresina, the capital of Piauí State, during the 1970s. In this context, the “Festival Estudantil de Música do Piauí” [Piauí Student Music Festival] (FEMPI), and the “Festival do Parque Piauí” [Piauí Park Festival] (FESPAPI), both of which occurred between the 1970’s and 1980’s, were crucial for the formation of this historical framework. Expressive names in the Piauí art scene, such as Geraldo Brito, Zé Rodrigues, João Berchmans, Achylles Costa Júnior and Williams Costa, were popularized by these festivals that would eventually generate a musical culture of protest, within a universe in which stands out songs like “Biotema”, “Arames e Fuzis”, “Medusa” and “Represália”. The aim of this article is to re-discover this environment and this period of piauiense music history, supported by the analysis of lyrics as well as, use of Oral History methodologies.</p><p><strong>Keywords:</strong> Protest song – Festivals – Piauí.</p>
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Chukwuma, Marian Edohan. "The significance of music in African culture: A study of Ogbanigbe Festival in Ukwu-Nzu Aniocha Local Government, Delta State." UJAH: Unizik Journal of Arts and Humanities 24, no. 2 (March 8, 2024): 296–333. http://dx.doi.org/10.4314/ujah.v24i2.9.
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Music is a cultural expression interpreted, determined, moulded and coloured by culture and the cultural environment of a people, it plays a vital role in various aspects of celebrations amongst societies in Nigeria. In festivals, for example, music expresses the culture of the people. This study examined the role and significance of music in African culture in Ogbanigbe festival in Ukwu-nzu with emphasis on ideology, belief systems, organizational structures, significance of music practices, and mode of dressing, dialect, and communal activities. Its main objective is to critically study the music of ogbanigbe festival and collate ethnology materials that distinguish, differentiate and separate one community from another. The theory adopted for this paper is functionalism theory; the functionalism theory is used to define culture in relation to the reality of change. It traces the evolution of phenomena, the emphasis of culture on norms, tenets and values. The methodology used for the study is survey method, oral interview and fieldwork to assess the basic principles that are common in the musical culture of ukwu-nzu people during the ogbanigbe festival. In ukwu-nzu town, New Yam festival is associated with Ogbanigbe festival similar to some villages in Aniocha nomenclature. Four songs texts were selected and interpreted, the paper conclude that the significance of music in festival plays a huge role to showcase the cultural practices and beauty. Suggestions were made for the sustenance of cultural music in festivals.
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Varshney, Kavita, and Caren Friend. "Emergency Care to the Sound of Music." Prehospital and Disaster Medicine 38, S1 (May 2023): s82—s83. http://dx.doi.org/10.1017/s1049023x23002376.
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Introduction:There are known higher rates of drug and alcohol consumption in music festival attendees. Patterns of MDMA use had been changing over a number of years however the festival season (Sept 2018 - May 2019) in NSW saw a dramatic rise in drug related mortality and morbidity which had not been seen in other states in Australia although similar instances had been noted overseas.With over 70 music festivals in NSW in this period, five deaths in four months and 29 severely unwell patrons transported to NSW hospitals, the impact was significant.To support both the festival site and NSW hospitals a Health Response Team (HRT) deployment model was implementedMethod:The planning and intervention strategies included provision of onsite specialist critical care teams to complement existing event management and paid healthcare providers. Disaster management principles, although documented, had not previously been used in the music festival setting. To deploy such a team, guidance on equipment, pharmaceutical and physical requirements were scarce. Our team developed processes and protocols for all aspects of this unique deployment.Operational procedures included specific equipment, medications, documentation processes, and clinical protocols were developed and reviewed and refined after each festival.Results:The effectiveness of the teams was evidenced through the early recognition and management of severe drug toxicity seen at the five festivals to which WSLHD deployed HRTs. This management resulted in good outcomes with minimal morbidity and no deaths of the 29 festival patrons treated by the HRT noting 25 required intensive care admission.Conclusion:Innovative processes and collaborative arrangements enabled effective deployment to NSW music festivals. Expert HRTs were key in preventing drug related morbidity and mortality through early recognition and management of complications. Team members gained unique and invaluable experience as a result of their deployments and patients transported to hospital were managed more effectively.